French 1600-1682 Claude Lorrain Galleries In Rome, not until the mid-17th century were landscapes deemed fit for serious painting. Northern Europeans, such as the Germans Elsheimer and Brill, had made such views pre-eminent in some of their paintings (as well as Da Vinci in his private drawings or Baldassarre Peruzzi in his decorative frescoes of vedute); but not until Annibale Carracci and his pupil Domenichino do we see landscape become the focus of a canvas by a major Italian artist. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Landscape as a subject was distinctly unclassical and secular. The former quality was not consonant with Renaissance art, which boasted its rivalry with the work of the ancients. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. Rome, the theological and philosophical center of 17th century Italian art, was not quite ready for such a break with tradition. In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography. Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. The painter Joachim von Sandrart is an authority for Claude's life (Academia Artis Pictoriae, 1683); Baldinucci, who obtained information from some of Claude's immediate survivors, relates various incidents to a different effect (Notizie dei professoni del disegno). John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude??s landscape "all is lovely ?C all amiable ?C all is amenity and repose; the calm sunshine of the heart"  Related Paintings of Claude Lorrain :. | A Tree Trunks (mk17) | Coast Scene with Europa and the Bull | Landscape with a Goatherd (mk17) | Concordia (mk17) | Rome with St Peter's (mk17) |
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Hermann Nigg
painted Nigg Karl Lueger in historischem Kostum in 1876
friedrich nietzsche
Period: Romantic (1820-1869) Country: Germany Born: October 15, 1844 in Röcken Died: August 25, 1900 in Weimar
Paul Peel
(7 November 1860 - 3 October 1892) was a Canadian academic painter. Having won a medal at the 1890 Paris Salon, he became one of the first Canadian artists to receive international recognition in his lifetime. Peel was born in London, Ontario, and received his art training from his father from a young age. Later he studied under William Lees Judson and at the Pennsylvania Academy of the Fine Arts under Thomas Eakins. He later moved to Paris, France where he received art instruction at the Ecole des Beaux-Arts under Jean-Leon Gerôme and at the Academie Julian under Benjamin Constant, Henri Doucet and Jules Lefebvre. In 1882 he married Isaure Verdier and had two children with her: a son (Robert Andre, in 1886) and a daughter (Emilie Marguerite, in 1888). Peel travelled widely in Canada and in Europe, exhibiting as a member of the Ontario Society of Artists and the Royal Canadian Academy. He also exhibited at international shows like the Paris Salon, where he won a bronze medal in 1890 for his painting After the Bath. He was known for his often sentimental nudes and for his pictures of children.